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Hour of Glory (1949)
"The Small Back Room" (original title)

7.5
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Ratings: 7.5/10 from 1,073 users  
Reviews: 20 user | 35 critic

As the Germans drop explosive booby-traps on 1943 England, the embittered expert who'll have to disarm them fights a private battle with alcohol.

Writers:

(novel), , 1 more credit »
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Title: Hour of Glory (1949)

Hour of Glory (1949) on IMDb 7.5/10

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Nominated for 1 BAFTA Film Award. See more awards »
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Cast

Cast overview, first billed only:
...
...
Susan
...
Leslie Banks ...
Col. A.K. Holland
...
...
Milton Rosmer ...
Walter Fitzgerald ...
Emrys Jones ...
Joe
...
Till
Renée Asherson ...
A.T.S. corporal
Anthony Bushell ...
Col. Strang
Henry Caine ...
Sgt. Maj. Rose
Elwyn Brook-Jones ...
Gladwin
James Dale ...
Brigadier
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Storyline

The best bomb disposal officer during World War II was badly injured and is in frequent pain. He finds solace and relief from his pain in the whisky bottle & the pills that are never far away. A new type of booby trapped bomb push his nerves & resolution to the limit. Written by Steve Crook <steve@brainstorm.co.uk>

Plot Summary | Plot Synopsis

Genres:

Drama | Romance | Thriller | War

Certificate:

Not Rated | See all certifications »
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Details

Country:

Language:

Release Date:

23 February 1952 (USA)  »

Also Known As:

Hour of Glory  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

When Sammy and Susan are at the Hickory Tree night club, Susan spots Gillian, an old acquaintance, and asks Sammy to start talking, to avoid the meeting. Sammy starts, and then Susan joins in reciting the following lines: "I never nurs'd a dear gazelle, / To glad me with its soft black eye, / But when it came to know me well / And love me, it was sure to die." These lines are from the poem Lalla Rookh (in the section entitled The Fire Worshipers) by the Irish poet Thomas Moore (1779-1852). See more »

Goofs

A little over 75 minutes into the film, during the scene where the character of Sammy Rice trashes his sitting room, the shadow of the boom mic can be seen reflected in the empty picture frame in the foreground of the shot. See more »

Quotes

Susan: Where were you going Sammy?
Sammy Rice: I don't know.
Susan: A woman?
Sammy Rice: Maybe.
Susan: How about me?
See more »

Crazy Credits

In the cast list, Robert Morley is named only as "A Guest", in italics. See more »

Connections

Featured in Scene by Scene: Martin Scorsese (1998) See more »

Soundtracks

Soft Shoe Shuffle
(uncredited)
Written by Spencer Williams and Maurice Burman
Performed by Ted Heath's Kenny Baker Swing Group
See more »

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User Reviews

 
The Archers at their least flamboyant
31 May 2002 | by (United Kingdom) – See all my reviews

As I am sometimes less than kind in my comments of the Archers, it was a pleasure to rediscover the other day "The Small Back Room" , a film I had not seen since its original release. Although this is generally regarded as one of their minor works, presumably because of its lack of flamboyance, it takes for once a very serious theme and treats it in a thoroughly mature way; that of the psychologically flawed individual and how he reacts when faced with possibly the greatest challenge in his professional career. Two of Sidney Lumet's finest films, "Equus" and "The Verdict" have the same subject. Sammy Rice, the boffin of "The Small Back Room", is struggling with alcoholism and the mental as well as the physical pain of coping with an artificial foot when he is called upon to discover the way to dismantle one of several booby-trap explosive devices dropped by the Germans over Britain in 1943. The casting of the two central characters is perfect. Although the part of Sammy calls for someone with a James Mason like authority, a much lesser actor, David Farrar, rises to the occasion particularly as he has the advantage of a large lumbering frame that conveys a certain physical awkwardness. As his sympathetic ladyfriend, Susan, Kathleen Byron drops her "Black Narcissus" melodramatics to give the performance of her lifetime as the woman who really knows how to handle Sammy when he is at his lowest. Add to this the fine camerawork of Christopther Challis, particularly liberal in its use of huge closeups that significantly heighten the psychological tension of the narrative, and you have a film well worthy of attention. In only two scenes does it falter. Unfortunately by conforming to the tiresome custom of British films of the period of sending up the Establishment, it presents Robert Morley as a rather silly senior minister. Although this would have probably fitted in the context of a comedy it is out of place in a film as darkly toned as this. Then there is the melodramatic lapse of resorting to Teutonic Expressionism when Sammy is fighting his alcoholism. In this nightmarish sequence he is physically dwarfed by a giant whisky bottle and an alarm clock. This is one of only two scenes to use background music. For the rest, untypically for this period, it does without. It makes for a stronger, more hard-edged experience.


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